Issue link: https://digital.copcomm.com/i/1535880
M OT I O N P I CTU R E S O U N D E D I TO R S 75 in sync. Although most of the time it's not, you know? But again, my job is to give the impression that it's happening and give it the body and the base to fill all the void. The music tracks went on forever in depth and that's because I had to have alternates and I had to have changes, and I had to have the live band as individual instruments. The big band was all individual instruments that came to me, so, you know, we had a lot of fun putting that together for the entire season. In addition to the Foley that I got from these guys, we have a library and Foley library that we'd tap as well. When Sara cut the dialogue, she'd also split out production effects that help with the music and effects track for foreign (M&E). The foreign markets are going to want to hear exactly what they heard in production without the dialogue. We did leave a lot in the dialogue track, but she would end up going back and pulling more for me as I prepped the M&E. If we could pull it out earlier, great. It was one less thing we have to worry about later. I came into mixing from being an editor first, so no matter what Al did or no matter what Steve did, there would be something I just wanted to hear. So if I didn't get it from them, I'd just cut it in. Probably some of the most important stuff were the tracks that the picture department did. You never toss what your picture department does because there'll be a time where somebody in that room is going to say, "hey, where's that door I like?" and if it's not there, you gotta go looking for it. They lose a little bit of faith in how the mix is going and they start to question everything else that's not there. All those tracks feed the auxes where sound is going to and passing through and feeding all the items that we have to record—dialogue stem, music stem, Foley stem, background stem, and sound effects stem. And I recorded all of that, not just because they ask, but because it was also good for future reference if I ever had to get back into it again to do something. It's easier to just repair maybe one of those stems instead of having to go in and record everything again. Then from the stems I created all the other delivery stuff—6- track print master (5.1 audio) and the stereo mix. There are other deliverables but that's a whole other story. And all of this gets done in four or five days. DB: That's incredible. Fantastic work by you and the entire team. [applause] Thank you so much for being here and sharing your team's artistry and workflow. RB: Thank you and our pleasure. Speaking of artistry, I wanted to ask the audience if they noticed something during Midge's final performance on the Gordon Ford Show? It happened when the lights went down, and the camera circled 360 degrees around her. [silence from the audience] Even though the scene was in a television studio, Amy and Dan wanted to do a call- back to the first episode when she did her first stand-up routine at the Gaslight. As the lights go down and the television studio audience gets a little quieter, we actually pulled the glass clinks and audience presence from the Gaslight in Episode 1 and had them playing very subtly in the background. So, while the camera is circling around her, those sounds signify, along with the camera motion, Midge going full circle to arrive where she stood at that moment. And it really put an emotional button on the whole series. Special thanks to Florence Barrau- Adams and Marsha McKeever from NYU Tisch School of the Arts, and Kayla Tyson and Allison Andreas from the First Run Festival.